Chen Tianzhuo
陳天灼
陳天灼的作品植根于宗教、反思和獻(xiàn)身的理念中。藝術(shù)家創(chuàng)作了其獨特的藝術(shù)語言，融入了傳統(tǒng)的宗教符號和帶有其極致個人風(fēng)格的圖像系統(tǒng)，用戲謔的手法試圖構(gòu)建一個虛擬的當(dāng)代宗教體系。他在照片的影印件上作畫儼然成為他想象力殿堂的重要表達(dá)方式。這些繪畫展示出藝術(shù)家獨具個人趣味的當(dāng)代創(chuàng)作體系，與西方宗教藝術(shù)有異曲同工之妙。
Born in 1985, lives and works in Beijing,
Represented by Star Gallery, Beijing.
The work of Tianzhuo Chen gravitates around the ideas of religion, contemplation and devotion. The artist creates a whole new language, combining traditional worship symbols with a new body of objects and images as part of his new personal iconographic repertoire. Tianzhou comprehensively articulates the features of his fictitious religion, which, at the end of the day, could be as valid as any other else. His drawings on photocopies are the devotional paintings of his imaginary temples. They show to the viewer stories and miracles of Tianzhou’s contemporary deities, echoing compositions typical of the western religious art.
Tianzhuo SS Lookbook 春夏時裝片
Chen Tianzhuo 陳天灼|Lightbox燈箱, 攝影|2012 |106 x 154 cm
Cheng Ran
程然
Born in 1981, lives and works in Hangzhou,
Rrepresented by Galerie Urs Meile, Beijing and Lucerne.
As suggested from the title of this video installation, horses are usually divided in three different categories - hot blood, warm blood and cold blood - depending on their breeding. To each one of these classifications, invisible to the naked eye, are commonly associated different temperamental characteristics. These tempers are unchanging, intangible and invisible, but even so, we can somehow perceive the differences between hot and cold. Cheng associates this hidden elements that drift in different directions of the emotional states, with the spiritual world of human beings, unintelligible, but still immensely indispensable. The artist dedicates a projection to each blood group, confirming and denying, trough carefully chosen images, the qualities generally associated to them. Together, the three videos offer up a striking mosaic, revealing a horse’s temperament to be as varied as it is unknowable, despite the classifications. In this piece Cheng confront us with our enduring desire to perceive with the eye what ordinarily remains hidden from view, highlighting at the same time the disconnection between what we see and what we are looking for.
如標(biāo)題所言，可以根據(jù)品種將馬分為熱血、溫血和冷血三種。馬的性情脾氣是穩(wěn)定而無形的，盡管無法用肉眼區(qū)分，，我們卻或多或少能夠體會到三種馬之間的細(xì)微差別。程然將馬隱藏的個性與馬的情感聯(lián)系起來，正如人的精神世界，不可觸及，卻又不可或缺。藝術(shù)家用三頻錄像分別表達(dá)熱血、溫血和冷血的馬，通過精心挑選的影像，表現(xiàn)了三種馬的不同特性。三屏影像結(jié)合在一起，如同構(gòu)成了一幅精美的馬賽克圖案，呈現(xiàn)出馬不為人知卻截然不同的個性脾氣。藝術(shù)家試圖為觀眾揭示隱藏在我們視線范圍之外的東西，同時也強(qiáng)調(diào)了我們所見以及希望所見之間的無關(guān)聯(lián)性。
Hot Blood Warm Blood Cold Blood (edition of 6)
Cheng Ran程然|Channel HD video, color, sound|2011|8’08”
Gao Ru Yun
高入云
Born in 1988, lives and works in Shanghai,
Represented by M Art Center, Shanghai
Winner of the 2011 M50 Creative Awards, this series of motion installations has at its core the exploration and description of the space that surrounds us. Through simple and linear movements performed by wires connected to small engines and mounted in wooden frames or supports, Gao gives life to space. When the engines are running and the wires twist and bend, the eyes play tricks on the viewer, inducing one to believe that the space itself is stretching and shrinking at the rhythm of this mechanical choreographies.
高入云是2011年M50創(chuàng)意新銳評委會大獎得主。這一系列運動裝置試圖探索和表達(dá)我們周遭的空間關(guān)系。藝術(shù)家將鐵絲連接小型發(fā)動機(jī)，并將它們固定在木型支架上，通過發(fā)動機(jī)動力鐵絲開始進(jìn)行簡單的線性運動，同時也如同給周遭的空間賦予了生命一般。隨著發(fā)動機(jī)的運轉(zhuǎn)，鐵絲不斷扭曲翻轉(zhuǎn)，這也是藝術(shù)家營造的視覺玩笑，使觀者誤以為空間本身在隨著機(jī)器的節(jié)奏而伸縮翻轉(zhuǎn)。
Space 舞動的空間
Gao Ru Yun高入云|Mixed Media綜合材料 |2011|15x25x10cm x3
Nandan Ghya
Born in 1980, lives and works in Rajasthan,
Represented by Exhibit320. New Delhi.
Jaipur-based contemporary artist Nandan Ghiya’s hybrid art deals with the narratives of the constant conflict between the present and the past and, in this occasion, between traditions and the new technologies embedded in the contemporary lifestyle. Her work is inspired both by her cultural baggage rooted in traditional Indian art, and the symbols of nowadays consumer society. The work focuses on ethnic groups from the past, on people who lived without any awareness or suspicion of the staggering advancements the humanity would have achieved in terms of digital technology. Questioning India’s present value systems, the artist is concerned about the overwhelming invasion of pixels and digital imaginary which is increasingly spacing the new generations out from the collective memory related to their ancestors and traditions. In this mixed media installation, Nandan Ghiya displays vintage portraits that have been defaced by painted pixels that hide their features of the people depicted. These images, which are also arranged in a pixel-like distribution on a Rajasthani wall, remind us of old family photographs and, at the same time, of profile pictures of an imaginary social network, downloaded from the past.
Nandan Ghiya生活在印度齋普爾，他的多元化藝術(shù)作品始終關(guān)注當(dāng)下和過去的沖突、以及傳統(tǒng)和伴隨我們當(dāng)代生活方式的新技術(shù)之間的沖突。藝術(shù)家的作品不僅吸收了傳統(tǒng)印度藝術(shù)的文化土壤，同時也包含了當(dāng)下物質(zhì)社會的符號象征。這組作品將焦點聚集于上一代印度人，科學(xué)技術(shù)的快速發(fā)展以及對人類生活的快速推動都是他們這一代人始料未及的。像素和數(shù)字化技術(shù)正猛烈地沖擊著全新一代的年輕人，以至于他們的集體記憶已與他們的長輩和先祖相去甚遠(yuǎn)，藝術(shù)家在此作品中表達(dá)了對這一現(xiàn)狀的擔(dān)憂，同時也拷問著印度當(dāng)今的價值體系。在這件多媒體裝置中，Nandan Ghiya展示了古老的印度人像照片，但卻用技術(shù)化處理的像素遮蓋了人物的主要特征，通過這樣的方式試圖提醒觀眾老式攝影的存在，同時這些照片也幫助我們通過想象還原過去的社會生活。
Thumbnail, Pixel Atacks - Rajasthan, from the deFacebook Series
Nandan Ghya |Acrylic, old frames, old photographs in collage|2010 - 12|Size - Medium - Variable, set of 60 images in the installation.
Aki Kondo
Born in 1987, lives and works in Tokyo,
Represented by ShugoArts., Tokyo.
The dynamic compositions and vivid colors in the paintings of the Hokkaido born Aki Kondo, are always concealing deep and complex stories. In her characteristic multiple panels works, the artist intertwines characters and details that inspire the viewers’ imagination, suggesting unusual and unexpected narratives. This particular work depicts the act of eating, as one of the most intrinsic and perennial components of every living being. An ironic and merciless idiosyncrasy will always rule this essential part of our existence, having us eating other living organisms in an inevitably constant quest for energy.
The contemplation of nature, its roots and meanings, have inspired much of Kondo's work. In a whirlpool of colors applied on the canvas in bold brush strokes, the artist condenses the past, the present and the future of the eating history. Even when the whole world will change around us, we will still be linked to our primal nature by our eaters/eaten necessary condition, reminding us the unalterable backbone of our essence.
出生在日本北海道的Aki Kondo最擅長運用動態(tài)的構(gòu)圖和鮮艷的色彩來闡述其背后深入復(fù)雜的故事。在她具有標(biāo)志性的多聯(lián)油畫中，藝術(shù)家運用大量符號和細(xì)節(jié)來激發(fā)觀者的想象，講述背后出乎人意料的敘事。作品描繪了進(jìn)食的動作，吃是人類生存所必須的要素。由于人類對于能量的持續(xù)性需求，不可避免的需要實用其他動物和生物，這也是人性諷刺而殘忍的本質(zhì)。
Kondo的作品大多探討自然的本質(zhì)，起源和意義。通過大膽的筆觸和豐富的用色，藝術(shù)家將吃的過去現(xiàn)在和未來濃縮在畫布上。即使我們生存的世界改變了，我們依然不可能改變存在于人性中對吃的欲望，藝術(shù)家試圖通過這件作品提醒我們這一無法改變的人性根本。
An Earth of Eating
Aki Kondo |oil on panel|2012 |227.3x436.2cm
Li Jun
李俊
Born in 1977, lives and works in Chengdu,
Represented by M97, Shanghai,
The protagonist of this series by photographer Li Jun is a symbolic dust, the layers of a dirtiness that envelope the furniture in his Chengdu apartment bringing with them the evidence and the melancholy of past times. The haunting marks left on the surfaces by the now absent objects, are the unmistakable evidence of the ephemeral existence that characterizes our present environment and our lives. In Buddhism, the fundamental concept of "impermanence" teaches that all things are in a constant state of change. Time, existence, and consciousness itself are nothing more than a series of eternally changing impermanent instants. Li Jun focuses in his works the frustration caused by the frantic lifestyle of the modern China, and the disquieting uneasiness provoked by a constantly changing environment. The artist uses the dust to remind us of the unstoppable concrete high-rise that surrounds us as well as to represent the baton exchange between past and present.
“塵埃”是李俊這組攝影作品的主角。這是藝術(shù)家成都公寓家具上日積月累的灰塵，真實地見證了過去的時光。從灰塵表面留有的形狀印跡證可依稀判別曾經(jīng)放置在其上的物體，這些印跡也無可置疑地證明了我們周遭環(huán)境在不斷變化中。“無常”是佛教的核心思想，時刻提醒人們一切事物都在時時變化。時間、存在和意識本身也不過是一系列不斷變化的瞬間罷了。李俊的作品關(guān)注當(dāng)代中國瘋狂的生存方式和隨之產(chǎn)生的問題，以及不斷改變的生存環(huán)境給人們造成的不安定感。這些灰塵一方面提醒我們身邊每天拔地而起的高樓從不間斷，另一方面也將過去與當(dāng)下的碰撞呈現(xiàn)在觀者面前。
Film Strip ( Impermanent Instant)底片( 無常時 )
Li Jun李俊 |2010|6pieces 70x87.5cm
Liao Guohe
廖國核
Born in 1977, lives and works in Changsha,
Artist represented by Boers-Li Gallery, Beijing.
Milk Cow Licking Broken car 奶牛舔破車
Liao GuoHe 廖國核|Acrylic on canvas布面丙烯 |2011|220 x 192cm
Yu Cheng-Ta
余政達(dá)
Born in 1983, lives and works in Taipei,
Represented by Chi-Wen Gallery. Taipei.
If we were asked to express our perceptions and experiences related to a particular place, every individual would respond in a very different way but, nevertheless, a common stratum would be met by all the answers.
In “A Dialogue between David and David” the Taiwanese artist Yu Cheng-Ta displays a sculptural installation which embodies his personal perception of New York.
Each city can be represented in diverse and kaleidoscopic ways, mixing up ever-changing images drawn from our affective memories with collective imaginaries and clichés. The nature and aesthetics of this installation are then discussed by the artist and a friend of his, who shared with Yu Chang-Ta experiences related to New York. Through their conversations, they attempt to reconstruct and analyze the memories that triggered the artist’s perception of the city, shifting his representation from subjective to collective.
當(dāng)被問及對于某一個地方的印象和感受時，幾乎一百個人就會給出一百個答案。然而在這些答案中卻總會有某些相同之處。
在這件作品中，臺灣藝術(shù)家余政達(dá)用一組雕塑裝置來呈現(xiàn)他個人對于紐約這座城市的印象。每座城市都可以用各種方式來描繪，兼有我們有效記憶中時時變化的影像、人云亦云的想象和那些陳詞濫調(diào)。藝術(shù)家和曾同他一起身在紐約的朋友一同討論了這件裝置作品的屬性和美學(xué)，通過對話，他們試圖重建和分析藝術(shù)家對于城市的理解，將他主觀的表達(dá)轉(zhuǎn)化為集體的記憶。
A Dialogue between David and David 大衛(wèi)與大衛(wèi)的對話
Yu Cheng-Ta 余政達(dá)|Installation影像空間裝置|2012
